FIL 3111: SCREENWRITING II Spring 2004

Transcription

1 FIL 3111: SCREENWRITING II Spring 2004 Dr. Frank P. Tomasulo Tues 2:15-6 PM / Thurs 2:15-6 PM Office: A3119 Univ. Center Classroom: A2101 University Center Office Hours: T/Th 12-2 PM Campus Telephone: Home Telephone: tomasulo@mail.smu.edu COURSE DESCRIPTION: Development of sophisticated story ideas, treatments, character biographies, storyboards, step-outlines, first drafts, and final script revisions of both original ideas and adaptations. COURSE REQUIREMENTS: 1. The REQUIRED TEXTBOOKS are available at Bill's Bookstore: CRAFTING SHORT SCREENPLAYS THAT CONNECT, by Claudia H. Johnson WRITING SHORT FILMS, by Linda Cowgill Please bring the textbooks to class every day! These texts have valuable information in their Appendixes: on proper screenplay format and software programs (Cowgill, Appendix A; Johnson Appendix A); the availability of short films on videotape (Cowgill, Appendix B); and other reference books (Cowgill, Appendix D; Johnson, Appendix C). 2. SUPPLEMENTAL HANDOUTS are REQUIRED READING, like the texts. 3. ASSIGNED READING must be done by the dates specified. Discussion will often center on the required reading and your writing assignments. Your ability to understand, assimilate, and discuss this material will affect your grade. Come prepared! 4. ATTENDANCE and PROMPTNESS are expected at all class meetings. Arriving late or leaving early is considered an absence. It is YOUR responsibility to sign the roll sheet. For every unexcused absence over two, your final grade will be lowered one full letter. Excused absences are granted ONLY with a WRITTEN medical or other serious excuse. NO EXCEPTIONS! 5. ALL ASSIGNMENTS must be TYPEWRITTEN & ON TIME. The due dates are listed in each week's schedule. Sometimes only one assignment is due each week, sometimes two. PERFECT spelling and grammar are expected on all written assignments. Writers are often judged by their accuracy,

2 professionalism, and fluency with language. 6. FINAL GRADES will be based on the following: Twelve Weekly assignments (weeks each week) 60% Final treatment 10% Final script 20% Attendance and class participation 10% ALL assignments must be submitted to achieve a passing grade. Late work will be graded down one letter for each calendar day overdue, unless accompanied by a WRITTEN, verifiable medical/serious excuse. NO EXCEPTIONS! Even items that come in only one minute late will be penalized. 7. PLAGIARISM will not be tolerated. The submission of the exact words or even paraphrased ideas of another author (unless properly footnoted) will result in an AUTOMATIC "F" in the course, NO QUESTIONS ASKED. 8. INCOMPLETE GRADES will NOT be granted unless arranged IN ADVANCE and with a COMPELLING, VERIFIABLE medical/serious excuse. 9. VIDEOTAPES of SOME of the movies screened in class are available at your local video store or the Film School archives. Sometimes, Dr. T may be able to lend you a video. Viewing a film more than once is STRONGLY RECOMMENDED; you can take better notes, notice more details, and achieve new perspectives. 10. CLASSROOM DECORUM must be maintained AT ALL TIMES. Raise your hand if you want to contribute to class discussion. DO NOT engage in personal conversations during lectures, discussions, or screenings. Disruptive students will be EXPELLED from class. COURSE SCHEDULE: Due to the lengths of some of the films, you may be asked to remain a few minutes after the scheduled end of class Please adjust your schedules and other commitments accordingly. PEDAGOGICAL PHILOSOPHY: This course is a challenging examination of the short script as an art form. Be prepared to do INDEPENDENT THINKING on the books, articles, films, and screenplays studied. Do not expect to be spoon-fed answers to complex questions by the professor. Think for yourselves! Due to time limitations, every nuance related to screenwriting may not be covered in class. If you wish to go into more depth

3 on any subject, feel free to discuss it with Dr. Tomasulo. He can often recommend relevant readings, viewings, and ideas. This course is designed for students interested in a serious, stimulating, and rigorous study of short scripts. The demands on your time, attention, and creativity may be somewhat daunting, but the pay-offs should be rewarding as you begin to synthesize the course content. The main goal is for you to acquire experience writing and rewriting excellent short scripts. If you have any questions about the course--its content and requirements, problems you are having, or concerns about what is expected--be sure to see Dr. Tomasulo during office hours. NOTICE: This course syllabus provides a general plan for the course. Deviations may be necessary. CLASS SCHEDULE Week 1: Introduction to Everything: The Three Rs. The 4 Ds. Bisociation. Genre. Theme/Premise/Le Menu ("If You Don't Have a Vision, It Doesn't Matter What the Visuals Are"). The Three-Act Narrative. The 11 Steps of Dramatic Structure. Conflict vs. Connection. Foreshadowing. Recurring Motifs. Character Arcs (Oedipus, Electra, the Monomyth, etc.). "Show, Don't Tell." Jan. 8 INSEL OCCURRENCE AT OWL CREEK BRIDGE READ: Salinger, "A Perfect Day for Bananafish." Johnson, Preface; Introduction; Chapters 1-4. Tomasulo, "The Sky's in Love" + "Do Unto Others." Treatment: "Spittin' Image." Week 2: Characterization--Discovery/Transformation/The Arc Jan. 13 Jan. 15 OCCURRENCE OWL CREEK BRIDGE LIFE LESSONS INSEL LIFE LESSONS APPLES AND ORANGES

4 READ: Cowgill, Introduction; Chapter 1. Egri Handout on Premise. Tomasulo, "The Sex Life of the Mantis." ASSIGNMENTS DUE: 3-page Treatment for "A Perfect Day for Bananafish"; Exercises found on Cowgill, p. 22. Week 3: Characterization: The Checklist; Physiology, Sociology, Psychology Jan. 20 Jan. 22 APPLES AND ORANGES STICKY MY FINGERS THE LAST LAUGHING INDIAN THE MAN IN THE BROOKS BROS. SHIRT ECLIPSE opening READ: Johnson, Chapter 5. Cowgill, Chapter 2. Egri, Handout on Character. ASSIGNMENTS DUE: 3-page "Discovery" screenplay following Johnson, pp ; Exercises in Cowgill, pp Week 4: Narrative Structure: The Rules and How to Break Them Jan. 26 Jan. 28 THE LAST LAUGHING INDIAN HILLS LIKE WHITE ELEPHANTS MAN IN THE BROOKS BROS. SHIRT A MOVIE ECLIPSE opening UN CHIEN ANDALOU READ: Johnson, Chapter 6. Cowgill, Chapter 3. ASSIGNMENTS DUE: "Decision" screenplay based on Johnson, pp Exercises on Cowgill, pp (using a short film screened in class or an FSU student film). Week 5: Plotting Conflict; The Boxing Match Feb. 3 Feb. 5 HILLS LIKE WHITE ELEPHANTS NEIGHBORS

5 A MOVIE UN CHIEN ANDALOU THE DUTCH MASTER PAPER DOLL READ: Johnson, Chapter 7. Cowgill, Chapter 4. ASSIGNMENTS DUE: "Boxing Match" screenplay based on Johnson, pp Exercises based on Cowgill, pp Week 6: Fade In; Exposition; Point of Attack; Improbable Connections ("Meeting Cute") Feb. 10 Feb. 12 NEIGHBORS THE DUTCH MASTER PAPER DOLL AND JUSTICE FOR ALL opening PHILADELPHIA scene PEEL THE LETTER opening READ: Johnson, Chapter 8. Cowgill, Chapter 5. ASSIGNMENTS DUE: "Improbable Connection" screenplay based on Johnson, pp Exercises based on Cowgill, pp Week 7: The Middle; Suspense vs. Surprise Feb. 17 Feb. 19 AND JUSTICE FOR ALL opening GREAT EXPECTATIONS PHILADELPHIA scene TWIST OF FATE PEEL HITCHCOCK INTERVIEW THE LETTER opening READ: Cowgill, Chapter 6. ASSIGNMENT DUE: Exercises based on Cowgill, pp Week 8: Fade Out; The End; Revelation; Climax; That's All, Folks!

6 Feb. 24 Feb. 26 GREAT EXPECTATIONS TWIST OF FATE HITCHCOCK INTERVIEW ECLIPSE ending AND JUSTICE FOR ALL ending THE BIG SHAVE IT'S NOT JUST YOU, MURRAY READ: Cowgill, Chapter 7. ASSIGNMENT DUE: Exercises based on Cowgill, pp Week 9: The Long Short Screenplay March 2 March 4 ECLIPSE ending AND JUSTICE FOR ALL ending THE BIG SHAVE IT'S NOT JUST YOU, MURRAY KRAMER VS. KRAMER scene THE LOTTERY READ: Johnson, Chapter 9. ASSIGNMENT DUE: "Long Short" script based on Johnson, pp Week 10: Spring Break. Enjoy! Week 11: Scene Study; "Writing Is Rewriting" March 16 March 18 KRAMER VS. KRAMER scene THE LOTTERY JOHNNY GUITAR scene BODY AND SOUL scene RAY'S MALE HOMOSEXUAL DANCE HALL READ: Cowgill, Chapter 8 and Appendix E. ASSIGNMENT DUE: Exercises based on Cowgill, pp Week 12: Dialogue; Student Scripts that "Work" March 23 March 25 JOHNNY GUITAR scene BODY AND SOUL scene SLOW DANCIN' DOWN THE AISLES STRAW HAT

7 RAY'S MALE HOMOSEXUAL DANCE HALL READ: Johnson, Chapter 10. Cowgill, Chapter 9 ASSIGNMENT DUE: Exercises based on Cowgill, pp Week 13: Subtext--Meaning and Emotion March 30 April 1 SLOW DANCIN' DOWN THE AISLES COOL BREEZE AND BUZZ STRAW HAT READ: Johnson, Chapter 11. Cowgill, Chapter 10. ASSIGNMENT DUE: Exercises based on Cowgill, pp Week 14: Keeping Focus: Back to Character ("Getting to Know You") April 6 April 8 COOL BREEZE AND BUZZ TONGUE READ: Johnson, Chapter 12. Cowgill, Chapter 11. ASSIGNMENT DUE: COMPLETE character sketches for your main project, based on Lajos Egri's schema. Week 15: "The Journey of a Thousand Miles Begins "--Lao-Tze April 13 April 15 TONGUE LENA'S SPAGHETTI READ: Johnson, Chapter 13. ASSIGNMENT DUE: COMPLETE treatment for your main project.

8 Week 16: "Moving Right Along " April 20 April 22 LENA'S SPAGHETTI THE MAKING OF KILLER KITE READ: Johnson, Chapters 14 and 15. ASSIGNMENT DUE: COMPLETE first draft script for your main project. Week 17: "Put an 'Amen' to It" April 27 April 29 THE MAKING OF KILLER KITE ASSIGNMENT DUE: Final draft of your major short screenplay. NOTE: Students need to have an account they access on a regular basis. Course updates will be sent via and students will be responsible for them. BY ENROLLING IN THIS COURSE YOU ARE GIVING YOUR PERMISSION FOR THE USE OF YOUR WORK, IMAGE, ETC. TO BE USED BY FLORIDA STATE UNIVERSITY. You maintain ownership of any non-copyrighted (by others) material you produce. ADA Statement: The Film School desires that all of our students fully participate in our classes. But we need your assistance. If you have a disability or condition that compromises your ability to complete the requirements of this course of any other course at FSU, you should register with Student Disability Resource Center ( ). It is also important that you inform us as soon as possible of your individual needs so that we can make all reasonable efforts to accommodate them. Students with disabilities needing academic accommodation should (1) register with and provide documentation to the Student Disability Resource Center, and (2) bring a letter to the instructor indicating the need fort accommodation and what type. This should be done during the first week of class. Florida State University Honor Code: Students are expected to uphold the Academic Honor Code published in The Florida State University Bulletin and the

9 Student Handbook. The academic honor system of The Florida State University is based on the premise that each student has the responsibility (1) to uphold the highest standards of academic integrity in the student s own work, (2) to refuse to tolerate violations of the academic integrity in the university community, and (3) to foster a high sense of integrity and social responsibility on the part of the university community.